Vqlsunga-Saga
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
WAGNER and the VOLSUNGS None of Wagner’S Works Is More Closely Linked with Old Norse, and More Especially Old Icelandic, Culture
WAGNER AND THE VOLSUNGS None of Wagner’s works is more closely linked with Old Norse, and more especially Old Icelandic, culture. It would be carrying coals to Newcastle if I tried to go further into the significance of the incom- parable eddic poems. I will just mention that on my first visit to Iceland I was allowed to gaze on the actual manuscript, even to leaf through it . It is worth noting that Richard Wagner possessed in his library the same Icelandic–German dictionary that is still used today. His copy bears clear signs of use. This also bears witness to his search for the meaning and essence of the genuinely mythical, its very foundation. Wolfgang Wagner Introduction to the program of the production of the Ring in Reykjavik, 1994 Selma Gu›mundsdóttir, president of Richard-Wagner-Félagi› á Íslandi, pre- senting Wolfgang Wagner with a facsimile edition of the Codex Regius of the Poetic Edda on his eightieth birthday in Bayreuth, August 1999. Árni Björnsson Wagner and the Volsungs Icelandic Sources of Der Ring des Nibelungen Viking Society for Northern Research University College London 2003 © Árni Björnsson ISBN 978 0 903521 55 0 The cover illustration is of the eruption of Krafla, January 1981 (Photograph: Ómar Ragnarsson), and Wagner in 1871 (after an oil painting by Franz von Lenbach; cf. p. 51). Cover design by Augl‡singastofa Skaparans, Reykjavík. Printed by Short Run Press Limited, Exeter CONTENTS PREFACE ............................................................................................ 6 INTRODUCTION ............................................................................... 7 BRIEF BIOGRAPHY OF RICHARD WAGNER ............................ 17 CHRONOLOGY ............................................................................... 64 DEVELOPMENT OF GERMAN NATIONAL CONSCIOUSNESS ..68 ICELANDIC STUDIES IN GERMANY ......................................... -
The Prose Edda
THE PROSE EDDA SNORRI STURLUSON (1179–1241) was born in western Iceland, the son of an upstart Icelandic chieftain. In the early thirteenth century, Snorri rose to become Iceland’s richest and, for a time, its most powerful leader. Twice he was elected law-speaker at the Althing, Iceland’s national assembly, and twice he went abroad to visit Norwegian royalty. An ambitious and sometimes ruthless leader, Snorri was also a man of learning, with deep interests in the myth, poetry and history of the Viking Age. He has long been assumed to be the author of some of medieval Iceland’s greatest works, including the Prose Edda and Heimskringla, the latter a saga history of the kings of Norway. JESSE BYOCK is Professor of Old Norse and Medieval Scandinavian Studies at the University of California, Los Angeles, and Professor at UCLA’s Cotsen Institute of Archaeology. A specialist in North Atlantic and Viking Studies, he directs the Mosfell Archaeological Project in Iceland. Prof. Byock received his Ph.D. from Harvard University after studying in Iceland, Sweden and France. His books and translations include Viking Age Iceland, Medieval Iceland: Society, Sagas, and Power, Feud in the Icelandic Saga, The Saga of King Hrolf Kraki and The Saga of the Volsungs: The Norse Epic of Sigurd the Dragon Slayer. SNORRI STURLUSON The Prose Edda Norse Mythology Translated with an Introduction and Notes by JESSE L. BYOCK PENGUIN BOOKS PENGUIN CLASSICS Published by the Penguin Group Penguin Books Ltd, 80 Strand, London WC2R 0RL, England Penguin Group (USA) Inc., -
Fafnir, from the Icelandic Volsunga Saga Hreidmar, Who Was the King
Fafnir, from the Icelandic Volsunga Saga Hreidmar, who was the King of the Dwarf People, had three sons. Fafnir was the eldest and he was gifted with a fearless soul and a powerful arm. The second son, Otr, was a shape-shifter, and then there was Regin who built a house of gold to please his father. No-one dared to approach Fafnir because of his fierce glances and Ægis helmet. His fearsome appearance was one of the reasons he guarded the gold house of his father. One day, something terrible happened. Odin and Loki were walking by a stream in Midgard, one of the nine worlds of Yggdrasil, the sacred tree of life in Norse mythology. Trickster God Loki killed an otter and flung it over his shoulder. What he did not know was that, being something of a magician, Otr often took the form of an otter during the day. The gods continued their journey until they came to the house of Hreidmar, whom they asked for shelter for the night. At first Hreidmar was welcoming enough, but when he saw the otter, he shouted in rage and grief, for the dead creature was his son. Hreidmar summoned his other two sons, Regin and Fafnir. Then, with his magic spells, he disarmed the gods and bound them. Odin told Hreidmar that he and his companions would pay whatever ransom he asked. Hreidmar and his sons demanded that the otter’s skin should be stuffed with gold treasures. Loki, the most cunning of the gods, went straight to the place where he had killed the otter and stared down into the water. -
Tolkien's Inspirations and Influences in His Book, Intentionally It Seems
Last updated 9 March 2008 Tolkien’s inspirations and influences on his works An alphabetical entry list compiled by Ardamir of the Lord of the Rings Fanatics Forum (http://www.lotrplaza.com/forum/) While reading J.R.R. Tolkien: A Biography by Humphrey Carpenter about 2½ years ago, I noticed that he mentions many of Tolkien's inspirations and influences in his book, intentionally it seems. I took the opportunity to start listing these inspirations along with their sources, and have since then used many other sources for my list. I am listing elements in Tolkien's works in alphabetical order, along with their respective inspirations, and the sources I have used. Many of the inspirations are (very) speculative, and those I have marked with a '?', but some are obvious. The list is not meant (at least not yet) to be a detailed investigation of Tolkien's inspirations but rather to include just the relevant information and gather all the inspirations in one place for each entry. I know that it has many defects, and it is somewhat lacking in sources and references, but I am constantly improving it while adding more and more inspirations. I would greatly appreciate it if other people would take a look at it and tell me what they think about it, and also suggest additions and improvements. I am not making the list just for the benefit of myself, but for everyone. I update the list almost every day. Bolded (emphasized) parts of quotes by me. Entries that are names are in italics. Entries for text passages can be found in a separate section at the end. -
Germanischen Sagengeschichte
Studien zur germanischen sagengeschichte. I der valkyrjenmythus. II über das verhältniss der nordischen und deutschen form der Nibelungensage. Von Wolfgang Golther. Aus den Abhandlungen der k. bayer. Akademie der Wiss. I. Cl. XVIII. Bd. II. Abth. München 1888. Verlag der k. Akademie in Commission bei G. Franz Der valkyrjenmythus. Als die forschung begann, sich den nordgermanischen denkmälern zuzuwenden, wurde ihr teilweise grossartiger und ergreifender inhalt die veranlassung, für diese selbst ein ziemlich hohes alter anzusetzen, man glaubte, hier den ältesten anschauungen der Germanen von der götter weit zu begegnen, man entnahm den nordischen quellen die berechtigung zu rückschlüssen auf die übrigen germanischen stamme, indem ein be trächtlicher teil der hier sich vorfindenden sagen den letzteren zugewiesen wurde, was sonst den feindlichen einflüssen der christlichen kirche er legen war, hatte sich hier in unverfälschter, ursprünglicher reine erhalten, darum genügte eine ganz äusserliche ähnlichkeit irgendwelcher später deutscher sagen mit zügen, welche in nordischen quellen vorkamen, um einen mythus als nordisch-deutsch, ja urgermanisch hinzustellen, eine vorurteilsfreie betrachtung der nordischen quellen bewirkte vielfache änderung in diesen ansichten. nicht allein ihre niederschrift, sondern auch ihr inhalt entstammen einer viel späteren zeit, in welcher der nor dische geist in besonderer kraft und lebhaftigkeit erblühte, in den sagen sind freilich keime enthalten, die gemeingermanischen, ja indogermanischen Ursprunges sind, -
Die Geschichte Von Den Völsungen
1 [39] Die Geschichte von den Völsungen 1. Siggi und Rerir Hier wird angefangen und erzählt von dem Manne, der Sigi genannt war, und es wird von ihm gesagt daß er Odins Sohn hieß. Ein anderer Mann wird in der Geschichte erwähnt, der Skadi hieß, er war mächtig, stark und tüchtig, aber doch war Sigi von ihnen der mächtigere und vornehmeren Geschlechts, wie die Menschen in jener Zeit sagten. Skadi hatte einen Knecht, der kurz in der Geschichte zu erwähnen ist, er hieß Bredi; er war verständig in dem, was er anfangen sollte; er besaß Fertigkeiten und Geschicklichkeiten in demselben Maße wie die, die sich bedeutender dünkten, oder noch etwas mehr als manche. Das muß nun erzählt werden, daß Sigi einmal auf die Jagd ging, und der Knecht mit ihm, und sie jagten den ganzen Tag bis zum Abend. Aber als sie am Abend ihre Beute zusammenbrachten, da hatte Bredi weit mehr und größeres erjagt als Sigi, was ihm übel gefiel, und er sagte, er wundere sich, daß ein Knecht ihn im Waidwerk übertreffen sollte, lief deshalb auf ihn zu und erschlug ihn, dann verbarg er die Leiche in einer Schneewehe. Darauf kam er am Abend heim und sagte, dass Bredi im Walde von ihm geritten wäre, „und er war mir auf einmal aus den Augen, und ich weiß nichts von ihm“. Skadi beargwöhnte Sigis Aussage und vermutete, es würde Trug von ihm sein, und Sigi würde ihn wohl erschlagen haben. Er besorgte Leute, ihn zu suchen, und das Suchen endete damit, daß sie ihn in einem Schneehaufen fanden. Skadi sagte, daß man diese Schneewehe fortan Bredis Schneewehe nennen sollte. -
Marie Žúborová - Němcová: Encyklopédia Kresťanského Umenia
Marie Žúborová - Němcová: Encyklopédia kresťanského umenia Niagarské vodopády - pozri USA, Kanada https://sk.wikipedia.org/wiki/Niagarsk%C3%A9_vodop%C3%A1dy S. Leclerc: Eliáš v ohnivom voze nad Niagarským vodopádom (lept, 1660-1710) Niaux/njo - jaskyňa v Pyrenejach u Tasconu-en Foiix z obdobia magdalenienu; nálezisko jaskynných malieb frankokantaberského štýlu (pozri paleolitické jaskynné maľby), rytiny a maľby zvierat (bizóny, kone, jelene, ryby), prevedené čiernou obrysovou čiarou so šrafovaním naznačujúcim plastickosť; pozri mladopaleolitické umenie https://en.wikipedia.org/wiki/Cave_of_Niaux Heslo Niagarské vodopády – NIKO Strana 1 z 29 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia Mladý bizón (jaskyňa Niaux, 13850 -12980 pr.Kr.) Mime - vo Wagnerovom Prsteni Niebelungov brat kráľa škriatkov Albericha, pre ktorého vyrobil zo zlata Rýna čarovný prsteň; ním Alberich plánoval zotročiť Niebelungov i celý svet; Nibelheim - z Nibelung (plemeno škriatkov) a heim (domov); vo Wagnerovej hudobnej dráme „Prsteň Niebelungov“ domov škriatkov Niebelungov (v germánskej a škandinávskej mytológii Nibelheim sa nachádzal v Niflheimu); ich kráľ Abelrich používa čarovný prsteň, ktorý vyrobil Alberichov brat Mime zo Zlata Rýna (Rhinegold), ukradnutého Rýnskym pannám (Rhinemaidens); Abelrich používal prsteň na zotročenie svojich poddaných a plánoval ovládnuť svet; pomocník hlavného boha Wotana, poloboh ohňa Loge, priviedol Wotana do Nibelheimu, aby donútili Albericha prsteň a jeho zlatý poklad vydať; museli ním mohli ním vyplatiť obrov Fafnera a Fasolta, aby si nežiadali ako odmenu bohyňu Freyu, ktorú im sľúbil Wotan, keď mu postavia hrad Valhalu; pozri Prsteň Niebelungov (opera) https://en.wikipedia.org/wiki/Nibelheim http://walkurepedia.wikia.com/wiki/Nibelheim Nibelung - tiež nem. Nibelungen; v starej nórčine Niflung (mn. č. Niflungar); v germánskej a škandinávskej mytológii staroveké plemeno škriatkov, vládcov a strážcov starodávnych pokladov v krajinách pozdĺž rieky Rýn; podľa legendy burgundská kráľovská rodina, ktorá sa usadila na zač. -
Rejstřík K Sáze O Volsunzích
REJSTŘÍK K SÁZE O VOLSUNZÍCH Agnarr eda Audabródir, bojuje proti Hjálmgunnarrovi 21 (20). Ákl, kari a Spangareidi, pěstoun dcery Sigurda a Brynhildy, Áslaug 1 (43), (kap. VS 43 = 1. kap. ságy Ragnars lodbrókar). Z podnětu své maželky Grímy zavraždí Heimira. Áltr inn gamli 9. Álfr, sonr Hjálpreks konungs af Danmork. Ožení se s Hjordís, dcerou krále Eylimiho a vdovou po Sigmundovi. 12, 13, 26 (25). Álfr, Hundings sonr 9. Alsvinnr (též Alsvidr), hestr 21 (20), sloka 15 = Sd. 15; (kůň Alsvinnr spolu s koněm Árvakem táhne sluneční vůz). Alsvidr, Heimis sonr; vitá Sigurda 24 (23); mluví se Sigurdem o Brynhildě 25 (24). Andvarl, dvergr, je chycen Lokim v podobě štiky 14. Andvaralors, vodopád Andvariho 14. Andvaranautr, gullhringr 14, 29 (27), 30 (28). Arvakr, viz Alsvinnr. Asgardr, 9. Áslaug, dóttir Sigurdar Fáfhisbana ok Brynhildar Budladóttur 29 (27). Její pěstoun Hekni prchá s ni do Spangareid 43 = 1. kap. RSL; Atll, Budla sonr, bratr Brynhildin 26 (25); Brynhild věstí Gudrune, že si ho vezme za muže 27 (11); jeho účast na svatbě Gunnarrově a Brynhildině 29 (27); Gunnar praví, že by ho měla Brynhilda vidět zabitého 32 (30); ptá se Brynhildy, zda by si nechtěla zvolit toho za muže, který přijel na koni zv. Grani 32 (30); ožení se s Gudrúnou 34 (32); jeho sny 35 (33); pozve Gudrúniny bratry Gunnara a Hogniho do své říše 35 (33); bojuje proti svým švagrům 38 (36); dá Hognimu vyříznout srdce a Gunnara uvrhnout do hadí jámy 39 (37); Gudrun se na něm pomstí 40 (38), srov. též 43 (41). Audabródir, viz Agnarr. Bamstokkr, dub v hale krále Volsunga 2, 3. -
Germanic Mythology in Richard Wagnsr's 'Der Ring'
GERMANIC MYTHOLOGY IN RICHARD WAGNSR'S 'DER RING' Emile Berger Department of German Studies McGill University, Montreal March 2002 A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of MASTER OF ART~ © Emile Berger, 2002 National Library Bibliothèque nationale 1+1 of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395. rue Wellington Ottawa ON K1A ON4 Ottawa ON K1 A ON4 canada canada The author bas granted a non L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library ofCanada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies ofthis thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur fonnat électronique. The author retains ownership ofthe L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts frOID it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son pemnSSlOn. autorisation. 0-612-78989-6 Canada Il ABSTRACT Richard Wagner, in writing the text which would become the libretto of his fo~r operas comprising the Ring was influenced greatly by German Mythology as weil as old Norse writings. His main sources are the Voisungensaga, ttile Thidreksaga and the Nibelungenlied. Certain portions of the Ring follow closely the events described in some of the sagas, other portions have been chang~d and elaborated to achieve theatrical effect. -
Tolkien's <I>Sigurd & Gudrún</I>: Summary, Sources, & Analogs
Volume 28 Number 1 Article 4 10-15-2009 Tolkien's Sigurd & Gudrún: Summary, Sources, & Analogs Pierre H. Berube Independent Scholar Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Berube, Pierre H. (2009) "Tolkien's Sigurd & Gudrún: Summary, Sources, & Analogs," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 28 : No. 1 , Article 4. Available at: https://dc.swosu.edu/mythlore/vol28/iss1/4 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract A thorough, analytical guide to The Legend of Sigurd and Gudrún, listing Tolkien’s sources for each incident in his poem and finding analogs in the estr of his work. Consists mainly of charts, which are an excellent guide through this tangle of Northern legend and an unfamiliar and highly allusive poetic style, and will provide a firm starting place for later scholarship on this long-unseen work. -
The Poetic Edda
The Poetic Edda The Poetic Edda Northvegr Edition Edda Sæmundar Hinns Froða The Edda Of Sæmund The Learned Translated From the Old Icelandic By Benjamin Thorpe The Northvegr Foundation Press • Lapeer, Michigan iv This Northvegr Edition is an unabridged and unaltered republication of a translation that was pub- lished in two separate editions. The first edition is an edition published by the Norroena Society in 1907, as The Elder Edda of Saemond Sigfusson, and the Younger Edda of Snorre Sturleson. This edition also included a translation of the Prose Edda, translated by I. A. Blackwell, which is not included in the present edition. We no longer have access to the text of the second edition, which is most likely from Thorpe’s 1866 publication, Edda Sæmundar hinns Frôða. The texts from the two editions are virtually the same except for a few key points. The 1907 edition includes footnotes (which have been reproduced for the Northvegr Edition). The 1866 edition includes three lays that did not appear in the 1907 edition: Hrafnagaldr Odins, Gunnars Slagr and Gröttasóngr. All three are included in this edition. Every effort has been taken to reproduce this translation as accurately as possible. The Northvegr Foundation P.O. Box 174 Lapeer, MI 48446 USA www.northvegr.org [email protected] Published 2004 v Contents Preface ................................................................................................................. vii Part 1: The Mythological Lays Völuspá: The Vala’s Prophecy .......................................................................... 1 VafÞrúðnismál: The lay of Vafthrúdnir ...................................................... 17 Grímnismál: The Lay of Grimnir .................................................................. 29 Hrafnagaldr Odins: Odin’s Ravens’ Song ................................................. 41 Vegtamskviþa eða Baldrs Draumar ........................................................... 49 Hávamál: The High One’s Lay ..................................................................... -
Heroic Images on Runestones in the Context of Commemoration and Communication 375
Heroic images on runestones in the context of commemoration and communication 375 Marjolein Stern Heroic images on runestones in the context of commemoration and communication Introduction The general grandness of a runestone and the elaborateness of its carvings reflect on the people who commissioned the monument as well as on the commemorated indi- vidual. Particular elements of the carvings, however, provide information about the dead person specifically. The deceased are, for instance, praised for their aptitude on N 68 Dynna: mær hônnurst ‘handiest maiden’ and Sö 338 Turinge: landmanna bæztr ‘best of landholders’, or their devoutness on Vg 55 Källby: [k]ristinn mann, sar hafdi goda tro til Guds ‘Christian man, who had good belief in God’.1 Men were also some- times honoured by referring to their heroic qualities, both through statements in the inscription and allusions in the decoration. How certain images on runestones could refer to heroism as part of the commemorative message is explored in this paper. First, however, it will be established what defines heroes on runestones and how visual ref- erences to heroic qualities may be identified.2 Defining heroism One can become a hero by performing a deed that requires and attests to extreme courage, surpassing that of others. Characters in myth or legend often do this with the help of a special skill or attribute. Sigur.r Fáfnisbani, for example, killed a monster with an ancestral sword. A heroic deed of a real person can be doing something dangerous, for instance fighting in a battle or partaking in a distant expedition. The Viking Age offered ample opportunity for such hazardous undertakings, which is reflected in how heroes are portrayed in the sources of the day.